The Art of Impressionism 在线电子书 pdf 下载 txt下载 epub 下载 mobi 下载 2024


The Art of Impressionism

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Anthea Callen 作者
Yale University Press
译者
2000-12-11 出版日期
245 页数
USD 75.00 价格
Hardcover
丛书系列
9780300084023 图书编码

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The Art of Impressionism 在线电子书 epub 下载 mobi 下载 pdf 下载 txt 下载 2024

The Art of Impressionism 在线电子书 epub 下载 mobi 下载 pdf 下载 txt 下载 2024

The Art of Impressionism 在线电子书 pdf 下载 txt下载 epub 下载 mobi 下载 2024



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Anthea Callen, “Doubles and Desire: Anatomies of masculinity in the later nineteenth century,” Art History vol. 26 No. 5 (November 2003)

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Anthea Callen, “Doubles and Desire: Anatomies of masculinity in the later nineteenth century,” Art History vol. 26 No. 5 (November 2003)

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Anthea Callen, “Doubles and Desire: Anatomies of masculinity in the later nineteenth century,” Art History vol. 26 No. 5 (November 2003)

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Anthea Callen, “Doubles and Desire: Anatomies of masculinity in the later nineteenth century,” Art History vol. 26 No. 5 (November 2003)

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Anthea Callen, “Doubles and Desire: Anatomies of masculinity in the later nineteenth century,” Art History vol. 26 No. 5 (November 2003)

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This magnificent book is the first full-scale exploration of Impressionist technique. Focusing on the easel-painted work of Monet, Pissarro, Renoir, Cézanne, Cassatt, Morisot, Caillebotte, Sisley, and Degas in the period before 1900, it places their methods and materials in a historical perspective and evaluates their origins, novelty, and meanings within the visual formation of urban modernity.

Drawing on scientific studies of pigments and materials, artists’ treatises, colormens’ archives, and contemporary and modern accounts, Anthea Callen demonstrates how raw materials and paintings are profoundly interdependent. She analyzes the material constituents of oil painting and the complex processes of “making” entailed in all aspects of artistic production, discussing in particular oil painting methods for landscapists and the impact of plein air light on figure painting, studio practice, and display. Insisting that the meanings of paintings are constituted by and within the cultural matrices that produced them, Callen argues that the real “modernity” of the Impressionist enterprise lies in the painters’ material practices. Bold brushwork, unpolished, sketchy surfaces, and bright, “primitive” colors were combined with their subject matter—the effects of light, the individual sensation made visible—to establish the modern as visual.

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